Joan Miró, The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10878

Joan Miró, Plate VII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10900

Anatoli Lvovich Kaplan, The Breadwinner (The Pony) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12712

Alexander Liubimov, Award for an outstanding shockworker, 1931, Offset lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/26963

Anatoli Lvovich Kaplan, The Rich from Jehupez from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12716

Francisco Goya, Francesco Goya y Lucientes, Pintor (Francesco Goya y Lucientes, Painter), published 1799, etching, aquatint, drypoint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7451

Francisco Goya, Modo de volar (A Way of Flying), published 1864, etching, aquatint, and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7629

Francisco Goya, The Garroted Man, in or before 1780, etching and (burin?) on smooth wove paper [second edition impression printed about 1830], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7448

Anatoli Lvovich Kaplan, Portrait of Zejtl (Tevia's Daughter) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12679

Francisco Goya, Volaverunt (They Have Flown), published 1799, etching, aquatint, and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7479

Francisco Goya, Y esto tambien (And This Too), published 1863, etching, aquatint or lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7593

Anatoli Lvovich Kaplan, The Wait (Hodl at the Window) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12722

Joan Miró, Table of plates from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10893

Anatoli Lvovich Kaplan, Cast of characters from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12788

Francisco Goya, Y son fieras (And They Are Like Wild Beasts), published 1863, etching, burnished aquatint, and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7550

Anatoli Lvovich Kaplan, Before the Sabbath (Lighting Candles–Golda to the Right of the Table) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12709

Francisco Goya, Yo lo vi (I Saw It), published 1863, etching, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7590

Francisco Goya, Por que? (Why?), published 1863, etching, lavis, drypoint, burin, and burnisher, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7554

Anatoli Lvovich Kaplan, Tevia's Tavern (Golda and Zejtl Milking) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12672

Anatoli Lvovich Kaplan, Portrait of the Innkeeper from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12791

Anatoli Lvovich Kaplan, Eighth Chapter: Return Home Quickly from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12777

Anatoli Lvovich Kaplan, Thirteenth Chapter: The Death of the Tailor from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12782

Joan Miró, Plate XIX from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10888

Anatoli Lvovich Kaplan, Anatewka (The Village) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12682

Anatoli Lvovich Kaplan, The Tailor's Family (Motl, Zejtl, and the Children) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12687

Anatoli Lvovich Kaplan, Morning (The Room) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12671

Anatoli Lvovich Kaplan, In the Kitchen (The Diary) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12708

Joan Miró, Plate XVIII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10887

Anatoli Lvovich Kaplan, Tevia and Shalom Aleichem Meeting Again from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12728

Spanish (Castile), Massacre of the Firstborn and Egyptian Darkness, c. 1490, hand-colored woodcut, National Gallery of Art, Washington. https://dartabase.art/cite/nga/3930

Joan Miró, Plate VI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10899

Anatoli Lvovich Kaplan, On the River (Zejtl Transports the Goats to Market) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12730

Anatoli Lvovich Kaplan, Colophon from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12718

Anatoli Lvovich Kaplan, Evening (Tevia's House) from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12692

Anatoli Lvovich Kaplan, The Matchmaker (Efroim, the Jewish Matchmaker) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12719

Joan Miró, Plate II from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10889

Anatoli Lvovich Kaplan, Seller of Air (Lives by Money Matters: Air) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12677

Joan Miró, Plate XIV from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10883

Anatoli Lvovich Kaplan, Sixth Chapter: The Wife Is Waiting from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12774

Francisco Goya, Nada (Nothing), 1810/1820, etching, aquatint and lavis with burnishing (proof) on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7635

Anatoli Lvovich Kaplan, Front cover from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12763

Anatoli Lvovich Kaplan, Portrait of Menachem-Mendl from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12673

Manuel Salvador Carmona, The Tender Desire (Le Tendre désir), c. 1761, etching and engraving on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/2983

Anatoli Lvovich Kaplan, Portrait of Golda (Tevia's Wife) from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12691

Anatoli Lvovich Kaplan, The Tailor's Evening Meal from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12686

Joan Miró, Plate VIII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10901

Francisco Goya, No se convienen (They Do Not Agree), published 1863, etching, drypoint, burin, and burnisher, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7586

Anatoli Lvovich Kaplan, The Schoolmaster and His Wife from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12765

Francisco Goya, Si amanece; nos vamos (When Day Breaks We Will Be Off), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7509

Pablo Picasso, Portrait of Fernande Olivier, 1906, Drypoint with plate tone on copper in black on ivory laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/41433

Francisco Goya, Duendecitos (Hobgoblins), published 1799, etching and burnished aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7520

Anatoli Lvovich Kaplan, Table of contents from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12727

Joan Miró, Plate IX from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10902

Joan Miró, Plate XIII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10882

Francisco Goya, Y no hai remedio (And There's No Help for It), published 1863, etching, drypoint, burin, and burnisher, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7580

Anatoli Lvovich Kaplan, Tevia and Golda from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12733

Francisco Goya, El amour y la muerte (Love and Death), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7480

Francisco Goya, Que viene el coco (Here Comes the Bogey-Man), published 1799, etching and burnished aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7459

Anatoli Lvovich Kaplan, At the Exchange from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12674

Joan Miró, Wrapper front from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching, drypoint, and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10895

Joan Miró, Plate IV from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10897

Anatoli Lvovich Kaplan, In Bojberik (Summer Visitors) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12710

Francisco Goya, Bullfight in a Divided Ring, 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/746

Anatoli Lvovich Kaplan, The Tailor's Wife from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12790

Anatoli Lvovich Kaplan, Title page from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12775

Francisco Goya, Tanto y mas (Even Worse), published 1863, etching, lavis, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7601

Anatoli Lvovich Kaplan, Text from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12787

Francisco José de Goya y Lucientes, Plate 16 from "The Disasters of War" (Los Desastres de la Guerra): 'They make use of them' (Se aprovechan), 1810, Etching, drypoint (proof impression), The Metropolitan Museum of Art, New York. https://dartabase.art/cite/met/334723

Anatoli Lvovich Kaplan, The Tailor (Motl at Work) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12729

Anatoli Lvovich Kaplan, Portrait of Motl (Motl Kamisol, The Tailor) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12683

Francisco Goya, Quien lo creyera! (Who Would Have Thought It!), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7482

Francisco Goya, Isabel de Borbon, 1778, etching and drypoint on heavy laid paper [first edition impression printed in the Calcografia in 1778-79], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7446

Joan Miró, Plate XV from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10884

Anatoli Lvovich Kaplan, Portrait of Fjodor (Fedjka, the Poet) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12725

Anatoli Lvovich Kaplan, The Village Kosodejewka from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12767

Anatoli Lvovich Kaplan, Title page from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12706

Francisco Goya, Dibersion de España (Spanish Entertainment), 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/745

Anatoli Lvovich Kaplan, In the House of the Rich from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12668

Anatoli Lvovich Kaplan, Portrait of Pertschik (Pfefferl) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12714

Joan Miró, Plate XXII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Drypoint and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10892

Anatoli Lvovich Kaplan, First Chapter: The Tailor's Room from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12769

Francisco Goya, Nadie nos ha visto (No One Has Seen Us), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7454

Francisco Goya, Por que fue sensible (Because She Was Susceptible), published 1799, lift-ground aquatint and aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7469

Joan Miró, Plate XVII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint and engraving from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10886

Francisco Goya, El famoso Americano, Mariano Ceballos (The Famous American, Mariano Ceballos), 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/743

Anatoli Lvovich Kaplan, The Butcher Shop from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12680

Francisco Goya, No se puede mirar (One Can't Look), published 1863, etching, burnished lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7613

Joan Miró, Plate V from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10898

Francisco Goya, Fuerte cosa es! (That's Tough!), published 1863, etching, burnished aquatint, and drypoint, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7551

Francisco Goya, Linda maestra! (Pretty Teacher!), published 1799, etching, burnished aquatint, and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7500

Anatoli Lvovich Kaplan, Summer Visitors (The Rich Women) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12694

Anatoli Lvovich Kaplan, By the Cradle (The Bedroom) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12732

Anatoli Lvovich Kaplan, The Village Slodejewka from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12766

Anatoli Lvovich Kaplan, The Bewitched Tailor, 1954–57, published 1957, Portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12764

Francisco Goya, A caza de dientes (Out Hunting for Teeth), published 1799, etching, burnished aquatint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7486

Anatoli Lvovich Kaplan, Table of contents from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12688

Anatoli Lvovich Kaplan, The Wedding (Motl and Zejtl's Marriage) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12684

Anatoli Lvovich Kaplan, A Family of Merchants from Tevia the Milkman, Volume I, 1957–61, publisher 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12676

Joan Miró, Plate I from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10877

Anatoli Lvovich Kaplan, Portrait of Tevia from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12690

Anatoli Lvovich Kaplan, Fifth Chapter: The Tailor Drinking at the Inn from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12773

Joan Miró, Variant of plate VI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint with pastel additions from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10894

Francisco Goya, Isabel de Borbon, 1778, printed later, etching and drypoint on wove paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7445

Anatoli Lvovich Kaplan, Seventh Chapter: At the Rabbi's from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12776

Varvara Rodchenko, Dustjacket for Ideologicheskaiaborba i literatura (The Ideological Battle and Literature), 1980, Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32320

Anatoli Lvovich Kaplan, Third Chapter: The Inn from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12771

Anatoli Lvovich Kaplan, Eleventh Chapter: The Family in Distress from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12780

Anatoli Lvovich Kaplan, Portrait of Hodl (Tevia's Daughter) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12713

Anatoli Lvovich Kaplan, Colophon from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12678

Francisco Goya, Que valor! (What Courage!), published 1863, etching, aquatint, drypoint, engraving, and burnishing, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7556

Anatoli Lvovich Kaplan, Ninth Chapter: Ridiculing the Tailor from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12778

Anatoli Lvovich Kaplan, Foreword from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12786

Francisco José de Goya y Lucientes, Francisco Goya y Lucientes, Painter, plate one from Los Caprichos, 1797/99, Etching, aquatint, drypoint and burin in black on ivory laid paper, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/62560

Anatoli Lvovich Kaplan, The Final Plate: Portrait of the Author from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12783

Francisco Goya, Tal para qual (Two of a Kind), in or before 1799, etching retouched with stumped black chalk on laid paper [proof before letters], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7637

Francisco Goya, Dios se lo pague a vsted (May God Repay You), probably c. 1804, etching, aquatint and drypoint on laid paper [trial proof printed posthumously before 1867], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7447

Anatoli Lvovich Kaplan, Summer Outing (on the River Bank) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12720

Kazimir Malevich, Vil'gel'mova Karusel' (Wilhelm's Carousel), 1914, Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9162

Joan Miró, Plate XI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10880

Anatoli Lvovich Kaplan, Portrait of Chawa (Tevia's Daughter) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12724

Anatoli Lvovich Kaplan, Return Home (Return at Night) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12669

Anatoli Lvovich Kaplan, Interior (with Mirror, Samovar, and Lights) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12731

Joan Miró, Plate XX from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10890

Francisco Goya, Asta su abuelo (And So Was His Grandfather), published 1799, lift-ground aquatint and aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7490

Anatoli Lvovich Kaplan, Children in Anatewka (in Front of Motl's House) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12726

Anatoli Lvovich Kaplan, In Exile (Pertschik and Hodl Reading) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12723

Francisco Goya, No se puede saber por que (One Can't Tell Why), published 1863, etching, burnished lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7563

Anatoli Lvovich Kaplan, Future Dreams (Pertschik and Hodl) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12715

Anatoli Lvovich Kaplan, Portrait of Lejser-Wolf (The Butcher) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12681

Francisco Goya, Ni por esas (Neither Do These), published 1863, etching, lavis, drypoint, and burin, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7568

Anatoli Lvovich Kaplan, Tevia the Milkman, Volume II, 1957–61, published 1961, Portfolio of twenty-seven lithographs (incomplete; complete portfolio comprises 28 lithographs), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12707

Francisco Goya, Baco (Bacchus), 1778, etching on heavy laid paper [first edition impression printed in the Calcografia in 1778-79], National Gallery of Art, Washington. https://dartabase.art/cite/nga/742

Anatoli Lvovich Kaplan, Twelfth Chapter: The Indignation from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12781

Spanish (Castile), Madonna and Child, c. 1475/1500, hand-colored woodcut, National Gallery of Art, Washington. https://dartabase.art/cite/nga/3768

Anatoli Lvovich Kaplan, The Tailor's House (in the Rain) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12685

Vladimir Mayakovsky (Владимир Маяковский), Untitled anti-German propaganda poster from the First World War, ("The Battle of Sokal"), 1914, Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/9119

Anatoli Lvovich Kaplan, Frontispiece (Tevia and Shalom Aleichem in Front of the Village) from Tevia the Milkman, Volume I, 1957–1961, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12689

Anatoli Lvovich Kaplan, Title page from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12666

Anatoli Lvovich Kaplan, The Tailor from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12789

Anatoli Lvovich Kaplan, Pertschik's Father (The Elder Pfefferl) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12717

El Lissitzky, About Two Squares: A Suprematist Tale of Two Squares in Six Constructions, 1922, Book with letterpress and offset lithography, in black and red, on cream wove paper, stapled along spine, Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199130

Francisco Goya, El sueño de la razon produce monstruos (The Sleep of Reason Produces Monsters), published 1799, etching and aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7502

Anatoli Lvovich Kaplan, Tevia's Family from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12670

Anatoli Lvovich Kaplan, Back cover from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12784

Joan Miró, Plate XII from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10881

Anatoli Lvovich Kaplan, The Broker (The Businessman) from Tevia the Milkman, Volume I, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12675

Varvara Rodchenko, Cover for Evgenii Vinkour, 1974, Lithograph, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/32319

Joan Miró, Plate X from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10879

Francisco Goya, No te escaparas (You Will Not Escape), published 1799, etching and burnished aquatint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7512

Francisco Goya, Margarita de Austria, 1778, etching and drypoint on heavy laid paper [first edition impression printed in the Calcografia in 1778-79], National Gallery of Art, Washington. https://dartabase.art/cite/nga/7638

Anatoli Lvovich Kaplan, Communications Zone (on the March in Exile) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12721

Joan Miró, Plate XVI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint and engraving from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10885

Anatoli Lvovich Kaplan, Text from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12768

Natalia Goncharova, Misticheskie obrazy voiny. 14 litografii (Mystical Images of War: Fourteen Lithographs), 1914, Portfolio of fourteen lithographs with letterpress cover, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/13291

Anatoli Lvovich Kaplan, Fourth Chapter: The Purchase from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12772

Francisco Goya, Quien mas rendido?  (Which of Them Is the More Overcome?), published 1799, etching, aquatint, and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7452

Aleksandr Rodchenko, Transrationalists (Zaumniki), 1922, Book with linocut on light red wove paper cover (discolored to pink-cream), Art Institute of Chicago, Chicago. https://dartabase.art/cite/aic/199561

Anatoli Lvovich Kaplan, Tenth Chapter: The Pursuit from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12779

Joan Miró, Plate XXI from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Etching and aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10891

Francisco Goya, Ni mas ni menos (Neither More nor Less), published 1799, etching, burnished aquatint, drypoint, and burin on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7496

Francisco Goya, Si quebro el cantaro (Yes He Broke the Pot), 1799, etching, aquatint and drypoint on laid paper, National Gallery of Art, Washington. https://dartabase.art/cite/nga/7636

Anatoli Lvovich Kaplan, Summer Visitors (Datschniki) from Tevia the Milkman, Volume II, 1957–61, published 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12711

Anatoli Lvovich Kaplan, Table of contents from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12785

Anatoli Lvovich Kaplan, Second Chapter: The Tailor Sets Out from The Bewitched Tailor, 1954–57, published 1957, One from a portfolio of twenty-eight lithographs (including front and back covers), The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12770

Anatoli Lvovich Kaplan, Balagula (Heavy Hauler with Horse) from Tevia the Milkman, Volume I, 1957–1961, publisher 1961, One from a portfolio of twenty-eight lithographs, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/12693

Joan Miró, Plate III from The Ring of Dawn Suite (Suite la bague d'aurore), 1957, Aquatint from a portfolio of twenty-four aquatints (including wrapper and variant print) (five with etching, two with engraving, two with drypoint, and one with pastel additions) and one etching, The Museum of Modern Art, New York. https://dartabase.art/cite/moma/10896

Francisco Goya, Picador Caught by a Bull, 1825, lithograph on wove paper [edition impression printed by Gaulon in Bordeaux in 1825], National Gallery of Art, Washington. https://dartabase.art/cite/nga/744